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 (bō-mär-shā′), Pierre Augustin Caron de 1732-1799.
French writer whose best-known works are the comic plays Le Barbier de Séville (1775) and Le Mariage de Figaro (1784), which inspired operas by Rossini and Mozart.


(French bomarʃɛ)
(Biography) Pierre Augustin Caron de (pjɛr oɡystɛ̃ karɔ̃ də). 1732–99, French dramatist, noted for his comedies The Barber of Seville (1775) and The Marriage of Figaro (1784)


(ˌboʊ mɑrˈʃeɪ)

Pierre Augustin Caron de, 1732–99, French playwright.
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Is the ferment of the peoples of the west at the end of the eighteenth century and their drive eastward explained by the activity of Louis XIV, XV, and XVI, their mistresses and ministers, and by the lives of Napoleon, Rousseau, Diderot, Beaumarchais, and others?
Gay-Lussac the chemist, Laplace the astronomer, Larrey the surgeon, de Suze the advocate, are here, and with them are Talma, Bellini, Rubini; de Balzac, Beaumarchais, Beranger; Moliere and Lafontaine, and scores of other men whose names and whose worthy labors are as familiar in the remote by-places of civilization as are the historic deeds of the kings and princes that sleep in the marble vaults of St.
The Tatar, recollecting that it was Stepan Arkadyevitch's way not to call the dishes by the names in the French bill of fare, did not repeat them after him, but could not resist rehearsing the whole menus to himself according to the bill:--"Soupe printaniere, turbot, sauce Beaumarchais, poulard a l'estragon, macedoine de fruits...etc.," and then instantly, as though worked by springs, laying down one bound bill of fare, he took up another, the list of wines, and submitted it to Stepan Arkadyevitch.
"Moliere or Beaumarchais would reply to you, madame, that it was precisely because I was not, that I had cured my patients; for myself, I am content to say to you that I have studied chemistry and the natural sciences somewhat deeply, but still only as an amateur, you understand." -- At this moment the clock struck six.
Beaumarchais, in a later day, had given it back its true poetry by adapting it for the French theatre and putting it into the mouth of a page, who pours out his heart to his stepmother.
If I met a working man and his wife in the streets between eleven o'clock and midnight on their way home from the Ambigu Comique, I used to amuse myself by following them from the Boulevard du Pont aux Choux to the Boulevard Beaumarchais. The good folk would begin by talking about the play; then from one thing to another they would come to their own affairs, and the mother would walk on and on, heedless of complaints or question from the little one that dragged at her hand, while she and her husband reckoned up the wages to be paid on the morrow, and spent the money in a score of different ways.
In "Puss-in-Boots," the bawdy style presents a challenge to the Beaumarchais text of "The Marriage of Figaro" and leads to "an opening of the self to another" as fundamental to love.
Le grand dramaturge a interprete sur scene les grandes pieces dont [beaucoup moins que]Hamlet[beaucoup plus grand que] de William Shakespeare, [beaucoup moins que]l'Avare[beaucoup plus grand que] de Moliere, [beaucoup moins que]Tkaakia[beaucoup plus grand que], une comedie musicale de Chaharamane, [beaucoup moins que]Othello[beaucoup plus grand que] de W.Shakespeare (Premier role), [beaucoup moins que]Maalem Azzouz[beaucoup plus grand que] (adaptation du Barbier de Seville) de Beaumarchais, [beaucoup moins que]Volpone [beaucoup plus grand que] de Ben Johnson, [beaucoup moins que]les caprices de Marianne[beaucoup plus grand que] de Musset et [beaucoup moins que]L'elixir de la vie[beaucoup plus grand que] d'apres l'oeuvre du Dr Aziz Lahbabi.
Miami, FL, December 13, 2018 --( Based on the French play La folle journee, ou Le mariage de Figaro (The Crazy Day, or The Marriage of Figaro) by Pierre Beaumarchias,The Marriage of Figaro is set after the events depicted in Beaumarchais' The Barber of Seville, in which the wily Figaro helped Count Almaviva win the heart of Rosina, who then becomes the Countess.
We are familiar with the central character in the 1784 play "The Marriage of Figaro" by playwright Pierre-Augustin Caron de Beaumarchais.
Based on the first of three plays by French playwright Pierre Beaumarchais (Mozart's 'The Marriage of Figaro', composed 30 years earlier, was created from the second part of the trilogy) which revolve around the titular barber, the opera premiered on 20 February, 1816 at the Teatro Argentina, Rome.
For example, the printing revolution brought intellectual property rights (thank you, Beaumarchais), and the Industrial Revolution popularised the patent system.